Best version of rachmaninoff piano concerto 2

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best version of rachmaninoff piano concerto 2

Music Minus One Piano: Rachmaninov Concerto No. 2 in C minor, op. 18 by Sergei Rachmaninoff

Music Minus OneEqually renowned as composer and pianist, Rachmaninov dazzled the world with his piano concerto in C minor. It is immensely popular to this day. Brilliant and powerful with the beautiful lyric theme that became the popular song Full Moon and Empty Arms, it is here presented in a lovely recording, sans your part, the solo piano. This deluxe 2-CD set includes a luxuriant 96-page, newly engraved score, plus a second slow-tempo practice accompaniment to help you get up to speed. The digital stereo compact disc features a complete performance of the concerto with orchestra and soloist, and a second performance minus you, the soloist; and the second compact disc contains a full-speed version of the complete version as well as a special -12% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience.
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Published 17.01.2019

The Best of Rachmaninoff

The best recordings of Rachmaninov's Piano Concerto No 2

This page lists all recordings of Piano Concerto No. This release includes a digital booklet. Browse: Rachmaninov - Piano Concerto No. Showing 1 - 10 of results. Results per page:. Availability In Stock

A quick guide to the greatest recordings of Rachmaninov's much-loved concerto. Piano Concertos Nos 1 & 2. Krystian Zimerman pf Boston.
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Skip to main content. Rachmaninov Piano Concerto No 2. Rachmaninov: Piano Concertos Nos. Available for download now. Montgomery Dundee, Scotland. See All Buying Options. Rachmaninov: Piano Concerto No.

Within weeks, the year-old was brimming with ideas and in a flood of inspiration composed his melodically radiant Piano Concerto No. Although he had been a musical Romantic, it was only now that Rachmaninov began composing those long, arching tunes, supported by skin-tingling suspended harmonies, which were to become such a trademark. From the insinuating suggestion of tolling bells that opens this popular Concerto, and the longbreathed melody that sounds like some ancient chant unspiralling, Sviatoslav Richter is at his most incandescent. Richter uncovers a brooding melancholy that imparts a Russian accent to even the most simple of gestures. This makes the tenderness of the second subject feel all the more frail and uncertain.

But Osborne conveys both the monumentality of these pieces, even the most fleeting, and their very human qualities. The composer himself, of course, knew how to achieve that equilibrium, but then he had a head start. So, does it convince? In a word, yes. What comes across most winningly is the ebb and flow of the work: the more inward passages are allowed to breathe; the extrovert ones are absolutely fiery.

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